double bill brings der held and pausa azul to coexist in the same scenic space and time. This program proposes moving from one to another as a journey, a voyage. The first happens; and for the second to occur, the traces of the previous one must be erased, giving rise to a materiality in constant transformation.
In one, the biological body deals with the modulation of the spaces in the itinerary; the body demanding attention. In the other, the spaces are being transformed despite the corporeal matter, making it part of the landscape, balancing tasks and occupations, giving the possibility of a panoramic observation.
Being able to choose the points of focus, having the freedom to look at what is needed, what is desired. The body is presence and allows itself to be affected by the other materials in coexistence.
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artistic sheet
ficha artística
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creation and direction |
Javier Arozena and Gino Senesi
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performance and choreography |
Javier Arozena
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light design |
Horne Horneman
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images |
Gino Senesi, Luis San Andres Malo
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videos |
mila erkoli
Contextos,
Teatro Rosalía Castro, A Coruña 2023
critics say
The brave succumb to death only once by Jordi Bordes (recomana.cat 24/04/2022)
“….. The piece, in continuous evolution, presents two works, Der Held and Pausa Azul. The first one inspired in the hero and his fight to achieve what is needed by the people that elevates him to a place of honor and risk. Pausa azul is, instead, a metatheatrical reflection on stage fright; the moment before entering a scene that, each time, takes more responsibility because the public, knowing the trajectory, never wants to get disappointed …. with a minimal scenography; In fact, covered, fragmented and distorted sound and light that is the actors reverse, its antagonist and its travel companion. …. Loneliness is evident, no matter of what kind. And in this stage the dancer’s movement transits within a balance and an admirable ability to perform twists with its body. Arozena dances expressing a feeling that he has inside and projecting it with his corporality. He has a desire to express this emotion through a fine narrative and a series of actions that attract by their excellent visual impact. ….Arozena's body is very ductile after having worked with many choreographers. He has a lot of plasticity and can both insinuate classic strokes (but with a back that breaks verticality at will) to movements of a refined automaton, without bounces at the extremes of the movement…
Dance and its words by Jordi Sora Domenjó (the temps of the arts 30/04/2022)
“…An extraordinary conceptual work around the position of the body on stage (and by extension, in life)…. you can enjoy a completely necessary lighting design to emphasize the power of the character, a work of Horne Horneman. With a slow, precise and virtuosic interpretation of movement. A true visual pleasure that accompanies quite showy scenographic effects, such as the game he makes with linoleum to represent the relationship between this individual and the people he serves. …Impossible to explain all this without saying a single word on stage, if there isn't a defined conceptual (dramaturgical) work, thought a thousand times in the rehearsal room and in the previous work process. Brilliant.”